Which demos does Benny play and reveal in this episode?
He plays original demos for major songs including 'Animals', 'Payphone' (early work), 'Moves Like Jagger', 'We R Who We R' and 'Diamonds', plus stories behind many others.
Video Summary
Benny plays unheard original demos for major hits and explains how they evolved.
Some songs take years to finish — 'Animals' was around 7–8 years before release.
Collaboration and intuition drive his process (not strict formulas or instant hits).
He prefers relaxed, home-based sessions to reduce pressure and encourage creativity.
Many famous tracks originated from small ideas, voice notes or late-night jam sessions.
He plays original demos for major songs including 'Animals', 'Payphone' (early work), 'Moves Like Jagger', 'We R Who We R' and 'Diamonds', plus stories behind many others.
It varies — some songs take a week, others take years. Benny says 'Animals' was around seven to eight years old by the time it came out.
He prefers working at home rather than a formal studio because it's less pressure and helps creativity flow more naturally.
Benny describes a spontaneous session with Ed Sheeran on a bus after a party — they captured the idea casually (pizza and all) and it later became 'Love Yourself'.
Be authentic, trust your intuition, collaborate, and be patient — many great songs only find their moment over time.
"I don't think anyone's ever heard anything. This is insane."
"You're breaking ground; you're helping me break ground."
"Songs like this take so much shape; there are so many different versions of these songs."
"That song was like 8 years old by the time it came out."
"I really think we could, and I remember we go to Adam and he like never wants to get on a song."
"It was like Jagger was the song you were trying to make as your idea."
"I always feel like I want to go against what everyone is saying."
"If she wants the song, give her the song; it's her heart and soul."
"They were like, 'You got to trust us.' You guys know Rihanna so well, let's see what happens."
Benny Blanco recounts his initial skepticism about a song being sent to Rihanna, as he didn't fully grasp its potential. He hesitated, unsure whether it was the best option, but ultimately decided to trust the experienced team he was working with.
After some revisions, particularly incorporating the now-famous line "shine bright like a diamond" into the chorus, Rihanna expressed her enthusiasm for the track.
Blanco vividly remembers receiving the call that Rihanna had cut the track, which was set for release just a few days later, surprising even the record label, who expected a longer lead time.
"We need to put that song out in like four days."
The urgency surrounding Kesha's track "We R Who We R" led to frantic finishing touches as they raced against the clock to finalize the song.
Blanco humorously shares an experience where he and the team indulged in edibles while finishing the track, leading to a comic and chaotic situation. He describes feeling overwhelmed and disconnected during the rush to produce the song.
Despite the frantic process, he highlights how the song turned out well, commenting that sometimes spontaneity leads to great creative results.
"She brings a song from like a seven to like a five hundred; it's insane."
Blanco praises Rihanna's unique ability to elevate a song's quality dramatically, noting how her contributions can transform a track.
He explains the pressure of limited time in the studio, showing how desperation can lead to innovative decisions, like leaving a placeholder in the final mix that ended up being widely loved by audiences.
This section emphasizes the unpredictable nature of music production and how some of the best outcomes can arise from tight deadlines and unconventional paths.
"Sometimes it takes me so long to finish anything... sometimes it works right then and there; sometimes it doesn't."
Benny Blanco discusses the extensive and often torturous nature of his creative process. He admits to spending a considerable amount of time refining his songs, which can take from a week to several years, depending on the alignment of various factors such as the right artist and timing.
He emphasizes the importance of patience in his songwriting, stating he prefers to wait until everything is perfect rather than rush the completion of a song.
"It's kind of like going to the gym; the artist is bench pressing... some artists need you to spot them a little bit more."
Blanco uses a gym analogy to explain the collaborative dynamic he has with different artists. Each artist requires varying levels of guidance, from fully crafting a song together to merely being a supportive presence.
He adapts his role based on the artist’s needs, whether that entails directly writing the song, helping with its structure, or stepping back to let them lead the creative process.
"I like doing it in the house more than the studio because it's less pressure."
Benny shares his preference for a relaxed home studio atmosphere over a conventional studio. He believes that a comfortable environment reduces pressure, allowing creativity to flow more freely.
In these more intimate settings, he focuses on fostering genuine connections, often starting sessions with personal conversations to build rapport before diving into the music-making process.
"I never force the process... if it has to be a hit, I just let it flow."
He highlights that he does not impose strict deadlines on the creative process, believing that ideas must come naturally rather than under pressure.
Blanco prefers allowing organic collaboration to shape the songs, often feeding off spontaneous ideas or themes that emerge during relaxed discussions with the artists.
"I remember we were just making ideas... and I made two beats while I was just waiting."
Benny narrates a specific instance of working on a project where he created beats in a lounge, showcasing how casual settings can lead to productive sessions.
During these sessions, sometimes he finds melodies forming naturally, which can later evolve into full-fledged songs. This illustrates his philosophy that inspiration can strike anywhere and at any time.
"I remember I went to the studio early before anyone got there, and they didn't have the synths plugged in."
Benny Blanco recounts an unexpected moment while creating "Dynamite," which he started while at the gym. He was inspired by an idea he had while on the treadmill and quickly went to the studio.
Due to his lack of experience with electronics, the main sound in the song’s chorus comes from a grand piano rather than a synthesizer. This highlights his resourcefulness despite being limited by his skills.
He also mentions that many of his early songs were composed using simple two-note progressions because of his self-described inadequacy as a player.
"I didn’t even know you could change the grid type on Pro Tools, so that’s why all my first songs are all 120 BPM."
Benny explains that his lack of knowledge about music software influenced the tempo of his initial songs, leading them all to be set at 120 BPM by default.
He reflects on how easy it is now to manipulate song tempos and keys, emphasizing how his production techniques have evolved over time.
"I make every experience different for everyone."
Benny discusses his approach to collaborating with various artists, stating that he tailors the experience to fit the specific artist, even incorporating personal touches such as preparing their favorite foods.
He shares a particular fondness for chocolate chip pumpkin bread made by his mother, illustrating his personal connection to the creative process.
"We recorded two songs the first day."
The story of how Benny met Ed Sheeran is shared, detailing their instant connection and the quick production of their first tracks together, including "Don't."
Their collaborative process is highlighted, including the humorous anecdote of how Ed's song was initially transformed by producer Rick Rubin's approach, which shows the intricate dynamics between different production styles.
Benny reflects on a pivotal moment when he and Ed worked in unconventional settings like tour buses, leading to the creation of an album that became Ed's biggest success.
"We never worked in a real studio; it was all done just like whatever we had at the time."
The immense success of the album they produced during their time on tour is emphasized, illustrating how a lack of traditional studio resources didn’t hinder their ability to create hit songs.
This outcome reinforces the idea that creativity can flourish under unconventional circumstances, and Benny notes how they produced multiple hits for other artists simultaneously without recognizing the scale of their success at the time.
"I remember we did that song and we were like, 'Oh yeah, it's cool,' and then it becomes this big song."
Benny Blanco recounts a memorable night in Canada with Ed Sheeran where they were invited to Drake’s afterparty. After an exciting night, they decided to create a song while on the bus back to America. The spontaneous birth of "Love Yourself" stemmed from their desire to capture the moment and stay awake.
The duo enjoyed a pizza and shared ideas, which led to the creation of "Love Yourself," a song that later achieved massive success despite their initial nonchalance about it.
Benny highlights the magic of these creative moments, where inspiration strikes unexpectedly while living life casually.
"I'm always just getting ideas… I feel like my best ideas always come like at the worst times."
Blanco shares insights into his organizational process and how he captures inspiration. He often receives ideas in the most inconvenient moments, typically when he is involved in other conversations, illustrating the challenges creative individuals face.
He emphasizes the importance of collaboration, particularly mentioning Ed Sheeran's ability to work on songs under pressure, even while performing. This shows the dedication and talent artists possess in managing multiple tasks seamlessly.
The story reflects the natural flow of creativity between artists, where collaboration becomes second nature, yielding hits that resonate with audiences worldwide.
"Sometimes people just get their flowers a little bit later than expected."
Blanco discusses the intricacies of song selection and how timing can impact an artist's career. He shares an anecdote about Julia Michaels, who broke through with the song "Issues," which resonated with many people.
The discussion highlights the unpredictability of the industry, where a song that seems right for one artist may flourish in the hands of another. He recalls how they initially thought about who might sing different parts of songs, showcasing their foresight in the creative process.
Benny reflects on how the evolving music landscape allows for diverse voices like Charlie XCX to emerge, celebrating individuality and the authenticity that many new artists bring to the industry.
"It’s amazing that fans now get to decide who becomes big; there might be an artist who was unknown yesterday, and today they have the biggest song in the world."
"Right now we’re in an era where females are reigning supreme in the music industry."
"Writing a song is kind of like a therapy session."
"The point of entry is easier than it’s ever been; you could be nobody today and tomorrow have the biggest song in the world."
"If your music sounds like everyone else, it's probably not that good yet. You should do something that makes it sound like you."